S U M M E R

2 0 0 7

Banyan
The Ultimate Tropical Style

Bonsai Societies of Florida, Inc.

VOL XXXVIII NUMBER 2 ISSUE 150 SUMMER

EDITOR

M I K E S U L L I VA N

11721 Spinnaker Way Cooper City, Florida 33026-1233 jsulliii@aol.com

PRE SIDENT

Please submit your notices and articles in advance of your events. Follow the advertising schedule below to plan your promotional materials and send them to the Editor, see address at left. Bonsai Societies of Florida, BSF, and its logo are trademarks of Bonsai Societies of Florida, 2007 BSF All Rights Reserved. No part of this publication may be reprinted, copied, or otherwise reproduced without the written permission from the Editor. Contributed articles express the opinion of the author and do not necessarily reflect the views of the BSF Board or the Editor.

LOUISE LEISTER

4 Claridge Court South Palm Coast, Florida 32137 mysecretbonsai@bellsouth.net Florida Bonsai is the official publication of the Bonsai Societies of Florida. It is published quarterly, in February, May, August and November, and is provided to every current member. If you are not a Florida resident and would like to subscribe to Florida Bonsai please see the subscription form on the inside back cover. Submission of articles should be made directly to the editor. The upmost care will be given to respect our authors intended meanings. Author supplied photos will be used as space permits. Be sure to visit our website at: www.bonsai-bsf.com

AdvertisinG
For advertising schedules and rates please contact Henry Robbins at bsf.treasurer@gmail.com deadlines for advertising Autumn Issue 6/10/07; Winter Issue 9/10/07; Spring Issue 12/10/07; Summer Issue 3/10/07
FLORIDA BONSAI

Contents

2 6 7 12 17 22 32 36 40
ON THE COVER:
MAY 2007

A MESSAGE FROM THE PRESIDENT

LOUISE LEISTER

A MESSAGE FROM THE EDITOR

M I K E S U L L I VA N

IN PURSUIT OF CHARACTER
T E D E . M AT S O N

TROPICAL BONSAI CALLIANDRA

M A RY C . M I L L E R

WIRING STRATEGY
COLIN LEWIS

CREATING THE BANYON STYLE

JIM SMITH

JOY OF BONSAI
LOUISE LEISTER

BONSAI AT THE GROVE

H E N RY RO B B I N S

BSF FINANCIAL STATEMENTS

H E N RY RO B B I N S

This issues cover photo is a majestic banyan style Buttonwood designed by Jim Smith see story on page 22.
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A Message from the Presidenu

e are fast approaching the 2007 BSF convention A Cypress Celebration and I hope everyone has made plans to attend. We have been planning this event for over a year now, and it should be wonderful. We will have several new things added to the schedule this year and expect that you will find them to your liking. To start the convention off, we will host our Third Annual Scholarship and Club Night. This event has been, in past years, the highlight of the convention, and offers those attending a fun bonsai learning experience. Last years program lasted until after midnight and no one wanted to leave! Conventions are all about people mingling and talking, sharing ideas, and learning from the wonderful artists we host. pins with others, so make sure you pack your extra pins to trade. Along with all this, BSF will provide a light snack and refreshments for those attending. This is the first time for an evening like this and the committee hopes everyone enjoys the night. All of the things I just mentioned are all part of your convention registration. The Convention Committee wants to know if these events are fun for you, and if you want to see more programs. We plan on supplying each convention attendee with a survey, so that you can
FLORIDA BONSAI

New, for the first time in Florida, is Vendor Night, which will be held on Saturday night, and will allow our vendors to give us a taste of what they do. Some of the nights events include Dale Cochoy demonstrating a Bonsai Pot Program; David DeGroot will give his informative Tool Care Program and we also have a very special addition to the convention Sean Smiths Tanuki Juniper Demonstration. Along with what I have mentioned so far, we are planning a pin swap where those attending can mingle and trade
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provide us with the feedback we need to understand how you would gauge the weekends activities. Please fill these forms out, before you leave, so we can gauge your responses. Each of our workshops will give the participants a color picture of their tree, a care sheet, a section for notes, and a bonsai sheet helping the person understand the trees progress as a bonsai. These packets will be given to each participant at the start of the workshop. In each packet, we will also include a survey sheet that we ask you to fill out and return to us at the convention, so we can see what you think of your trees and the workshop in general. I ask for your cooperation in filling out the surveys, we want to know your feelings and your experiences at the 2007 convention, so that we can improve our conventions. There will be people asking for these surveys at the end of your workshop, so please provide them with your thoughts. I also want to thank you in advance, and to all the committee
MAY 2007

members who worked so hard on this years convention. I cant tell you how many hours were put into this years event, but I can say for sure you had our undivided attention for over one year. The committee included: David Baruch, Allen Carver, Vlad Foursa, Anita Lorenz, Stan Orslek, Carol & Glenn Partelow, Robert Pinder, Henry & Narelle Robbins, Rita Rosenberg, Mike Sullivan, Ed Trout and Eric Wigert. There are so many more names to include, but this message would go on far too long. I would like you all to know that your hard work is why this event will be a huge success. I look forward to seeing all of you at this years Cypress Celebration and wish you all a great time. New things are happening within BSF, and this issue will be the first from our new editor, Mike Sullivan. I hope everyone enjoys his creative input and welcomes Mike to the BSF family. Mike has been a friend and admired bonsai

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A Message from the Presidenu

artist for years now and I was very excited and happy to welcome him as the new editor of Florida Bonsai. I also want to welcome Henning Glatter-Gotz as our new webmaster, and encourage you to visit the BSF website. Send him your newsletters and information, so he can post them onto our site. Henning is a very creative web designer and plans to make the website a more interactive experience for our members. The future holds online registrations, pin and tee shirt sales, educational programs ordered online and much more. We look forward to new and progressive developments. Stay tuned as our website evolves. Also added to the BSF Board is Glenn Partelow, our new Educational and Archives Chairman. We want to welcome Glenn, and we look forward to this retired teachers input to our programs. Glenn is currently reviewing the programs available to BSF members and will put together his outline for
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improvements, which I look forward to announcing. Along with Glenn, I want to thank Vlad Foursa as our new Morikami Liaison. Any questions regarding the Morikami can be addressed by Vlad. All of these announcements bring us to thank Dick Miller for his years of service and dedication to BSF, and we wish him a long and enjoyable retirement working on his trees, as well as the trees at the Morikami collection. Dick was the editor for Florida Bonsai from 2003 to January 2007 and brought us many wonderful articles. He was the webmaster after Tom Zane retired in 2005. We want to thank Dick again for his time and years of service to BSF and the membership. This years 2007 Epcot Flower and Garden Festival committee was thrilled and a bit daunted by the 68 entries. This was the largest group of entries received to date. The selection process was difficult, and we want to thank

FLORIDA BONSAI

the members who sent in trees for the exhibit selection. We chose 30 specimens for the China and Japan exhibit, so please be sure to get out and see this fantastic exhibit. Pictures of the exhibit should be on the website shortly after the opening. I would like to thank the exhibitors for lending us their trees for the world to see! I would also like to thank those involved in the selection process. A very special thanks to our friends at Epcot who work hard to take care of our trees and make sure our experience at Epcot is enjoyable.

I look forward to seeing everyone there, it is truly a great experience! I wish to thank all the BSF members who write in with their suggestions and ideas. Keep the letters coming, this is a great way to be heard and we appreciate your input into your organization. Please share your events with us we will do everything in our power to get the word out. I always look forward to seeing you at various events around the state during the year.

LOUISE LEISTER

is a mode of Japanese poetry, consisting of a pattern of 5, 7, 5 syllables. A haiku contains a special seasonal reference (the kigo) representative of the season in which the haiku is written, or a reference to the natural world.

H A I K U

Haiku usually combine two (or rarely, three) different phrases, with a distinct grammatical break (kireji) usually at the end of either the first five or second seven syllables. These elements are considered by many to be essential to haiku, although they are not always included by modern writers of Japanese free-form haiku and of non-Japanese haiku. Japanese haiku are typically written as a single line, while English language haiku are traditionally separated into three lines.
Source: wikipedia.org
MAY 2007
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A Message from the Editor

t is with some of trepidation, as well as personal pleasure, that I have accepted the responsibility of becoming editor of Florida Bonsai. The board of BSF approached me to assume the role, and, after much consideration I agreed. My hope is that I can contribute to the improvement of the look, readability, and of course, the content of this publication. York. Soon after arriving here, I discovered my passion for this hobby of ours. Over the years, I have been privileged to meet many wonderful and talented people, most of whom have helped me to learn and develop my talent, and further my professional and artistic growth. I look forward to retirement in a few more years, at which time I can truly immerse myself in the art of bonsai. I would like to thank Dick Miller for all of his hard work on this publication over the last several years.

The purpose of Florida Bonsai is to serve all bonsai enthusiasts in this state. My desire is to encourage all readers to use it as their voice to help promote the knowledge and appreciation of the art of our craft, as widely as possible, throughout the state. I look forward to all readers, as well as advertisers, contacting me to express their views, and I hope to receive letters and articles to be shared with other members. My residency in Florida began in 1992, having moved down from New York just in time to encounter Hurricane Andrew what a welcome! Professionally, I am a graphic designer for a firm based in New

MIKE SULLIVAN

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FLORIDA BONSAI

In Pursuit of Character
BY TED E. MATSON

ne thing that often sets an individual item apart from another is its unique character. In people, its an individuals character that often makes them memorable, and some of the most colorful personalities in history rose to their prominence due to their character or, in some cases, complete lack of it. In bonsai, character is an important quality that we strive to express in our trees, because its part of what gives them the sense of great age. It also reveals something about their struggle to survive despite great hardships. Its that certain bend or angle that creates a pleasing trunk or branch movement; its a graceful taper; its the way bark ages and changes in texture; its the degree of branch/twig/root ramification; its the interesting contours of certain lifelines in the trunk; its the relationship between living and dead tissues in that particular tree. In other words, its what makes each tree unique and distinct from any other. Now, in bonsai, character is a product of time. And, were often told that one should try to find material with good, aged character with which to begin. Thats one reason we collect materials from the wild and urban landscapes: theyve been growing in conditions and time frames that allow their individual character to emerge. However, the truth is that its hard to find bonsai stock with strong, distinctive character, especially from nursery stock, which is normally grown for mass production and not for individual specimen trees. As a result, we typically have to build character in our trees. Luckily, this is a natural by-product of various training

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In Pursuit of Character
processes. And, once we accept this idea, it also helps to understand how some training processes contribute to these more subtle aspects that truly make one particular bonsai stand out from the crowd. Usually, the trunks we start with have little character because theyre young. They are often cylinders with straight, smooth, non-tapering segments. Yet, we see old trunks with movement, different swellings and contours, interesting texture and taper. That character has emerged as a result of natural processes at work in the tree, and we can replicate that same effect if we apply our bonsai training techniques in a manner that is consistent with those natural processes. Here, we must recognize that character in bonsai shows up in many different ways and, depending on the species and style, we must try to create a sense of character that matches the story line behind our design (which means you dont typically put a bleached, rugged jin on an elm, although you might create a uro or hollow). In some cases, the trees we work on also respond in ways that help to create or enhance the elements that give it character. As a specific example, movement, taper and contour often emerge as a tree starts to lose branches and the sap flow is affected by what remaining branches continue to

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draw upon the trees roots. As nutrient flow is diminished in some areas (due to a branch removal), the support tissues usually collapse over a period of time and a flat area or depression occurs. At the same time, other branches will begin to draw their nutrient around the collapsed tissue, causing these neighboring lifelines to compartmentalize and swell. Over time, the bark on a collapsed area will often detach and exfoliate, leaving a small shari with nice, swollen scar roll already in place around it. That is an aspect of character that can enhance a bonsai story line. As another example, we often take young branches and wire

them into position, with varied curves if possible. However, most old branches are the end result of a natural selection process over time and end up with a combination of different curves, angles, taper and twigs. So, its through continued pruning and pinching that additional structures emerge on the tree, which allow us to go back in and select the elements which display the best character for our continued training effort. Specifically, we might find a clump of twigs that created a coarse knob, so well cut back to a tighter branch that offers better taper; we will remove branches with long internodes to shorten or eliminate a straight line and create a more compact, refined
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MAY 2007

In Pursuit of Character
twig structure; we may remove vertical branches/twigs or branches that emerge at odd angles in favor of other horizontal or lateral ones; or we may go in and clean areas where dead wood has appeared to give our trees some instant age in jin or shari. In other words, we get character in our bonsai as a result of the work we do on our trees and as we grow new structures with good character to replace the old ones without. For that reason, it is important to do your bonsai work. Dont be afraid to trim, prune or pinch. Dont hesitate to remove a branch or other structure on the tree that doesnt contribute to character. Dont be afraid to set your framework tight enough to allow all the new, refined structure a place to grow and fill in within the overall proportion you seek. Its not just a matter of producing a quantity of structure (branches and twigs), its all about the quality of that structure. If it doesnt have good character, it will be lacking as a bonsai. After all, isnt that what most nurseries do: just prune to create a nice form or shape that will attract a homebuyer who needs

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something that will look good in a landscape? However, as anyone who has picked up that nursery specimen and then taken it home to style it has found, its easy to get fooled by the quantity, and not recognize a lack in quality, leading to disappointment in the initial styling effort. Learning to recognize what contributes to character in a bonsai and then applying the techniques in a manner that brings those elements out is really what the process is all about. Recognizing that can give you a whole new understanding of how to achieve your goals for better bonsai. As a final note, today we hear comments on how so many of us are making cookie-cutter trees that are just copies of bonsai,
MAY 2007

and not replicating trees from nature. While its true that we follow certain design principles and styling guidelines in building our trees and that we tend to style our trees in a limited number of forms (based on the different indigenous tree forms we see in nature), its each trees unique character which the artist can control in the development and refinement processes that sets it apart from all others, even if they are the same species done in a similar style. For that reason, I believe character is what we all should be looking for, and looking to bring out in our trees. That is the extra that makes any particular bonsai extraordinary, and its what each of us can achieve.

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Tropical Bonsai Calliandra

BY MARY C. MILLER

alliandra consists of 150 plus species of shrubs and trees which can be found in tropical regions of the Americas, Asia and Madagascar. In the landscape they are primarily grown for their showy inflorescence. slow to develop. Frequent trimming of existing growth, encourages compact foliage. The only bonsai fault of the dwarf powder puff is the trunk. It rarely attains great girth. Even old specimens in the landscape have relatively small trunks. It is unusual to see this species with a trunk over 23 inches in diameter. Dont be discouraged by the slow precautions. Calliandra is a wonderful bonsai subject. It is a treat to observe as you wait for the guaranteed triumph of age. This is a tree to appreciate for what it does have. The leaves are a unique compound shape, wonderful berry-like buds, blossoms of pale to deep pink hues, followed by small, flat bean-like seed pods.
FLORIDA BONSAI

DWARF POWDER PUFF AS BONSAI

Calliandra emarginata, one of the first powder puffs used as bonsai, is found growing wild in Mexico south through Honduras. The leaves are similar to those of pea vines and flowers are varying shades of pink. Branches and trunks are somewhat brittle; roots can be described as stringy. As tropicals go, this powder puff is a slow grower. However, the thinness of new branches is perfect for creating curves and bends. As it matures, the trunk and branches become hardened and even more brittle. Older trees are difficult to change shapes. Hardened branches often snap, but they also heal, if not disjoined. New foliage breaks on old wood, but new branches are very
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Joe Samuels with his Calliandra bonsai at the 1980 convention on Key Biscayne. Joe started with a small nursery plant and trained it for several years before this display.

LOCATION AND CARE

Calliandra tolerates both full sun and full shade. For more compact growth some sun is desirable. Full

sun bleaches the green of the leaves, leaving them somewhat faded or yellowish. Keep the powder puff evenly moist, not too wet, not too dry.

Family: Subfamily: Relative of:

Leguminosae (alternatively Fabaceae) Mimosoideae

A family of over 12,000 species including good bonsai subjects such as Acacia and Tamarindus. Dwarf Powder Puff, Pink Powder Puff

Common names:

MAY 2007

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Tropical Bonsai Calliandra

FLOWERS

You can expect year-round flowers from this plant. Flower buds appear as small red raspberries and are themselves showy. They are often mistaken for fruit. Fully opened they attract bees. Deadheading (removing) old flowers will encourage new ones.
TELLTA LE LEAVE S

will make them close up. A cold and/or windy day will have the same effect. This is normal. Wilt is different; if it has a droopy appearance it usually indicates a need for water.
FERTILIZER

Calliandra have compound leaves that close up at night. The leaves may also respond to movement moving from one place to another

During the growing season, a regular weekly feeding program with a balanced liquid fertilizer, and once a month during cooler weather will keep your Calliandra nourished. If you prefer time release fertilizerno problem.

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C O U N T T H E D AYS TO F L O W E R S

Joe Samuels determined the following formula for blooming a powder puff for an exhibit to the day. Determine the day you want your tree to bloom and count back 20 days. At that point remove any and all existing flowers and/or buds. On that same day, fertilize with a bloom special type liquid fertilizer. Leave the bonsai in its customary growing location and continue to water as usual. Eighteen days later the raspberry-looking buds will appear. Wait just two more days. The flowers will burst into full bloom. In lower light or cooler climates, you may need to lengthen the timing three to five days at most.

MAY 2007

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Tropical Bonsai Calliandra

C A L L I A N D R A S C H U LT Z E I

Today a number of people are working with C. schultzei Rose Cascade. As young trees, the trunk of can be easily bent and shaped. It has a little larger flower than C. emarginata and is usually pink and white. It is also a night bloomer. The flowers usually last through early morning, but by mid-day they are spent. A much faster growing plant, it establishes a heavy trunk much easier than C. emarginata. C. schultzei are likely to become root bound quickly and will need additional water as the roots begin to fill the pot. Over time, Im sure we will discover other Calliandra as subjects for bonsai.

ROOT PRUNING AND REPOTTING

The best seasons for potting and repotting are spring and summer. In tropical climates, some have success repotting year round.

Check the roots annually, but they may not need yearly pruning. When root pruning, do not saw or cut across the soil mass on the Calliandra. Roots are usually quite long, with few fine roots. Gently loosen them and pull them out straight to prune. Remove up to one half, leaving as many fine roots as possible. Always keep roots moist while they are bare. Wire your plant in the pot when potting; it is fairly slow to reestablish. Occasionally severe root pruning
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causes leaf drop. Calliandra emarginata responds slowly to leaf loss, be patient.
SOIL

Although not particularly fussy, powder puff prefers acidic; fastdraining soil, with some organic matter added. When soil is too wet, roots suffer especially after repotting. If your tree is purchased from a nursery, it is often a good idea to get rid of all the old soil for the first bonsai potting.
PROPAG ATION

Most hobbyists begin their powder puff bonsai with nursery stock. The Morikami Museum and Japanese Gardens bonsai exhibit in Delray Beach, FL has a specimen Calliandra emarginata bonsai grown from seed. It was grown by the late Millie Cooper, a very patient BSF member.
PESTS, DISEASES AND PROBLEMS

Powder puffs are propagated from seed, cuttings and air layers.

The powder puff is susceptible to very few pests and/or diseases. Aphids are the most likely nuisance. Grow in areas with good air circulation. Your biggest problem will be finding a subject with a substantial trunk.

CALLIANDRA INDOORS

Just like a houseplant! When I asked a friend up north, that was the answer. Some have success growing this plant indoors without added light. For best results place near window or table lamp light. Keep the powder puff evenly moist. Not too wet, not too dry. Roots should only be pruned during periods of warm nights and long days. Watch for the common greenhouse (indoor) pests such as aphids, scale and mites. With good air circulation pests are minimal. As with other tropicals, the powder puff performs best in warm temperatures. If possible keep it at or above 70F during the day and at a minimum of 50F at night. It will survive in cooler temperatures, but will thrive in the heat. It is not tolerant of frosts or freeze.

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Wiring Strategyc
BY COLIN LEWIS

In simple terms annealed copper wire is best for conifers and aluminum wire is best for broadleaved species of trees.
HOICE OF WIRE :

Annealed copper is less obtrusive because it has superior strength so you can use finer wire. It work hardens, which means that if it wont quite hold a branch when first applied, after some manipulation, it probably will. Because broadleaved species are generally more brittle than conifers, you need to be able to distinguish between the resistance of the branch and the resistance of the wire; the ever-changing stiffness of hardening copper makes this difficult, so aluminum works best on broadleaved trees.

holding power than a few more widely spaced coils.

Two wires of the same thickness do not have twice the strength of one; in fact, they would have only about 30% more strength. It is always better visually and for the tree to use one thicker wire rather than two strands of thinner wire. The more wire you have on a branch, the more the tree suffers and the more likely you are to have ugly marks when the wire is removed. Keep the number of wires on any one part of a branch to a minimum: usually two is enough if you take the time to think about it, but occasionally three strands can be used. Any more than this, and you are not thinking through your wiring strategy clearly enough. Dont put wire on the trunk or a heavy branch unless you intend to bend it; why risk
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Pride in the quality of your wiring will lead to better workmanship and better results. Good wiring is kinder to the tree, more efficient and uses less wire.
APPLICATION :

In general, the fewer turns of wire in any part of a branch, the better for the tree and for your budget! Also, too many closely wound coils have less
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marking a part of the tree if its not going to be bent?

Always anchor the wire toward the tip of the branch, not toward the base or on the trunk. This is for two reasons: First, the base of a branch or the trunk will thicken quicker than the outer parts because it carries more foliage therefore the risk of scarring is greater. Second, by anchoring toward the tip, the wire will be more concealed by the foliage.

Where wrapping wire around the trunk or the base of a heavy branch is unavoidable, try to get the majority of it at the back, so if there is marking, you wont see so much of it!

THE SLINGSHOT PRINCIPLE : The illustration on the next page will help you remember the principle of the slingshot which is the basis of wiring strategy.

Any fork in a branch can be interpreted as a slingshot. Any of the three arms of the fork can

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Wiring Strategy
be interpreted as the handle of the slingshot, regardless of the angles between the three arms.

Begin wiring by passing the wire around the handle of the slingshot and bringing it between the two arms in the same direction.

can be either above or below the first wire) and wire to the next fork in each arm, continuing one full turn around one arm of each of the next forks.

At the very tips of the shoots, using the finest wire, make a

Continue to the next (or next appropriate) fork and one full turn around one of the arms, then stop that piece of wire. This anchors that arm to the handle. Begin the next piece of wire by laying it alongside the first (it
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small, neat loop to prevent the wire spontaneously uncoiling and to enable accurate positioning of all the terminal buds (especially important on most pines).
REMEMBER : P R AC T I C E M A K E S P E R F E C T !
FLORIDA BONSAI

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JUNE 810, 2007

Jog Road, Delray Beach

Cypress CelebratioN BSF 2007

at the Morikami Museum and Park

Featuring Guest Speakers: David DeGroot and Guy Guidry With Mike Cartrett, Toby Diaz, Ernie Fernandez and Dorothy Schmitz Introducing Reggie Purdue winner of the 2006 Scholarship Competition

Workshops, Seminars, Vendors, Raffles and Annual Auction

ComeJoinUsandCelebrateCypress!
MAY 2007
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Creating the Banyan Style

BY JIM SMITH

anyans rank among natures most unusual and distinctive trees. In their native ranges, these tropical figs can grow 100 feet tall, and develop canopies many times that width. There are banyans in India that stretch across acres and are considered sacred places by local residents. Banyans can attain such amazing size because of their habit of sending down aerial roots from the trunk and branches. In time, these roots become trunks themselves, and the tree continues to grow outward like a spiders web. Just as the rules for classical styles of bonsai are derived from observing pines in nature, the rules for banyan bonsai are derived from observing tropical figs in nature. Rather than being defined by the angle of the trunk, the Banyan is defined by its silhouette: a single, heavy trunk with a broad, low spreading crown and aerial roots descending from the branches. Creating a bonsai that effectively evokes the imposing image of a Banyan raises some unique chalPA G E

lenges for the artist and requires some unusual approaches.

SUITABLE SPECIES

Varieties of Ficus are the most common plants used for this style, although other plants can be used. In nature, the most famous Banyan is the Ficus religiosa or Bo tree (the tree under which Buddha found enlightenment), but it is not usually used for bonsai because of its large leaves.

Ficus microcarpa is a much better tree for the Banyan style because of its small leaves and compact growth habit. There are several varieties, and most of them are susceptible to thrips a tiny insect that causes the leaves to curl. Thrip damage can be easily controlled with
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insecticides or by removing the infested leaves when you see them.

Ficus retusa Nitida Green Gem is a variety that is not susceptible to thrips. Ficus Green Island is one of the better varieties for growing indoors. There are two varieties: One has pointed leaves and the other round leaves. Both readily produce fruit. Ficus salicifolia (also called F. nerifolia, F. salicaria and F. celebensis), or the the WillowLeaf Fig, is one of my favorite trees for bonsai. The leaves are small and reduce well, the tree
CONTINUED ON PAGE 26

Ficus microcarpa Kinmen, also called Tiger Bark, is, in my opinion, the best microcarpa for bonsai because of its smaller leaves, beautiful bark, compact growth habit and many aerial roots. Ficus microcarpa retusa Nitida also produces an abundance of aerial roots. It is also more susceptible to thrips than other varieties.

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Creating the Banyan Style

CONTINUED FROM PAGE 23

buds back prolifically when pruned, and it is very forgiving if the soil is allowed to become too dry. This tree also readily produces aerial roots.

There are other Ficus with leaves that can be reduced and used for this style.

Ficus exotica also have ideal characteristics for the Banyan style. Ficus benjamina, also called the Weeping Fig, and its cultivars are all good for the Banyan style. Particularly useful are the small-leafed varieties, including Ficus Kiki and Ficus Too Little.

Schefflera arboricola, the Dwarf Umbrella tree, is another plant that is often used because it grows rapidly, produces aerial roots and its leaves can be reduced.

STYLING

Because Banyans are so unique, many of the rules for classical, Japanese-style bonsai do not apply. The tree starts as a single trunk, but may divide into several

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trunks. It should be twice as wide as it is tall. The canopy spread from side to side should be slightly longer than from front to back. The foliage should start at one-third the height of the tree. These ratios can be adjusted somewhat to suit the individual tree. Miniature air plants can be attached to the trunk and branches to give the appearance of a Banyan in nature. When choosing a plant for this style, look for a thick trunk with strong surface roots, low branches and aerial roots. Bar branches are acceptable, preferably with the two lowest branches coming
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slightly forwards, and one branch extending to the rear. Bar branches can really help define the flat bottom that is essential to a good canopy structure. Branches are not arranged in a specific order as we see in conifers and some broadleaf trees, although they should become smaller as they spiral around the trunk to the apex. Exposed roots are very conspicuous and, on some varieties, may grow high above the ground. Roots that radiate like spokes are classic, but crossing roots that would be unacceptable in other styles can look fantastic here.
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Creating the Banyan Style

Before styling the tree, it is best to defoliate it in order to clearly see the structure. Start by finding the front of the tree. Look at the exposed surface roots and the aerial roots, then consider the branches remember that branches can be moved, even large ones. If a large branch cannot be moved with wire alone, make a cut next to the trunk on the opposite side of the direction you want to move the branch and break it. It is necessary to wire it in the usual manner so that it can heal in the position you want. Determine the height of the finished tree by assessing the character of the trunk and the placement of the lowest branches.

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Shorten the trunk and all the branches to make the silhouette conform to the ratio of two to one, width to height. Remove all the branches that are too large for their position on the tree. The lowest branches should be the thickest. The higher the branch, the thinner it should be. Crossing branches and those that grow straight up or down should be removed. When shortening a branch, cut it back to a side branch that can be wired out to create a new terminal. Wire any remaining branches as needed.

Keep in mind that the canopy of a tropical bonsai has a different character than a classical Japanese bonsai, and the Banyan is no exception. Tropical bonsai should look lush and opulent. With Ficus, you can defoliate twice a year (or more in the tropics) to help rapidly build a finely ramified canopy. Keep the separation between foliage pads tight, and sculpt them individually, to give the canopy the look of a billowing cloud. Birds may fly into the canopy, but they cant fly through it.
AERIAL A ND GROUND ROOTS

The roots are a key feature of Banyan bonsai. Surface roots

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Creating the Banyan Style

should be natural looking. Remove any roots that are too large or are crossing, although crossing roots can be very attractive if they are so prolific that they appear as a fused mass. It is sometimes necessary to split a root that is too large in order to make it conform to the scale of the other roots. Roots of the Ficus can be drastically modified to help give a natural appearance. Aerial roots really define the Banyan style. In nature, they grow only when the humidity is uncomfortably high and the air is still. But you can help stimulate the production of aerial roots on raw stock by wrapping the trunk in plastic to create a more humid microclimate, and putting the tree aside where it wont be disturbed. Make sure to keep it moist. Aerial roots should look natural and be balanced from side to side in a relatively even pattern around the trunk. They should be as vertical as possible, and the branches that host them should be close to horizontal. If a good aerial root is
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growing at an angle, dig out the base and straighten it, planting it more deeply to take up the extra length. Remove or split any large roots that are not in proportion to the size of the bonsai. Although these aerial roots are essentially secondary trunks, they should always be in scale with the diameter of the main trunk. If a wellplaced aerial becomes too thick, carve it down until it is the proper diameter. A new aerial root that is just starting to grow can be trained by using a soda straw to direct it into the precise spot desired. It is important to split the straw along its entire length before use so that it will be easy to remove when the root has attached itself to the ground. Its best to use straws after the tree has been placed in its bonsai pot.
P OT TING

When choosing a pot for the Banyan style, the usual rules do not apply. This style looks better in a very shallow tray or slab that shows off the surface and aerial roots.
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Since Ficus can tolerate drastic root pruning, it is possible to use very shallow pots and slabs. The best time to pot is spring, but warmer climates may allow it at other times. If in doubt ask a senior member at your local club. To encourage the development of a nice flare at the base of the trunk and powerful roots, we plant our pre bonsai stock deeply. When its time to style the tree, we wash away the upper soil to expose the surface roots and then cut the remaining root ball so that only the surface roots remain. If you are working with a large tree, a chain saw can be used to remove

the root ball. The tree can then be planted in a shallow pot or slab in the usual manner.
CONCLUSION

As a style of Bonsai, the Banyan is still in its infancy, and finding both fine examples of it, and good raw material, can be a challenge. But it is worth the trouble: With its aerial roots, broad canopy and vast nebari, a great specimen of Banyan bonsai can have a presence that inspires awe in the viewer. As the style becomes better understood, and gains more adherents outside the tropics, its place among the classical styles of bonsai will be assured.

HAIKU The frogs serenade as jasmine fills the humid air a tropical nighu

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Joy of Bonsai
BY LOUISE LEISTER

awa Bonsai Society has been hosting the Joy of Bonsai for five years and each year our goal is to bring a weekend of education to anyone wanting to learn. Our weekend usually includes visiting artists from either within Florida or from neighboring states. We have had Guy Guidry, Mike Rogers, Mike Cartrett, Mary Miller, Rodney Clemmons, Toby Diaz, Hector Morales, Carlos Consuegra, Tom Zane and our own Jason Schley. We host a Friday night cocktail party which opens the exhibit, and present a demonstration that all will enjoy.

This years Friday night demo included Toby Diaz and Hector Morales as they dazzled us with Mountains in the Sea, a Vietnamese style tray planting which included a beautiful rock planting in a tray along with a water feature. Those attending

Friday night enjoyed the program, and dined on Asian treats along with punch and coffee. The exhibit opened after judging by Rodney Clemmons, this years visiting artist. All were privileged to hear Rodneys critique and advice and comments on the trees. Rodney had wonderful things to say about the trees, which is always a great learning experience for those having trees in the exhibit. I have always loved the critique experience as it helps you view your trees through another persons eyes. The awards were presented, and the public was able to view the exhibit.

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Saturday was filled with all day continuous demonstrations by the artists, allowing anyone attending to see demonstrations whenever they arrived. We also had a workshop on Saturday led by Mike Rogers on Shimpaku Junipers purchased from Roy Nagatoshi in California. The workshop was excellent and was a real learning experience, starting with the raffia wrapping before wiring to the final styling. This workshop continued until each member finished the tree and no one left without a complete understanding of what they had done. We felt it necessary to let the participants take as much time as necessary to complete their tree. Participants left thrilled with a nicely styled Shimpaku.
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The only thing left to do is repot the trees into a quality bonsai pot. This class brought seasoned professionals and newer people together, and all were accommodated by Mikes understanding of junipers. This workshop was held for a mere $75.00, which covered all materials and Mikes advice. Saturday ended with an auction of the days demo trees and any remaining workshop material. There were great deals to be had and the attendees made out like bandits! On Sunday, we continued with our demonstrations by the visiting artists, including Mike Cartrett, Mike Rogers, and Rodney Clemmons. We also had another workshop with Rodney

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Joy of Bonsai

doing a beautiful collection of Saunders Boxwood. These were huge trees and all attending were very happy with their selections. Many of the trees were repotted into bonsai pots and could almost be ready to display. We were so happy with the material that Rodney hand-picked at Brussels Bonsai Nursery in Mississippi. The workshop was only $115.00 and everyone

agreed it was well worth it!! Sunday ended with another auction and more bargains were had by the lucky high bidders. The vendors were great, and sold a

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large assortment of trees, pots both new and antique, bonsai supplies along with beautiful wood burnings, bonsai and Asian jewelry. There were raffles and silent auction both days. The admission for all this was a whopping $10.00 per day or $15.00 for both days

and $4.00 for Friday night. Nowhere can you find so much bonsai fun for such a small investment! I hope many more Florida bonsai enthusiasts will take a ride to Flagler County and participate in next years Joy of Bonsai. The event will be held on January 11, 12 and 13, 2008, which coincides with Martin Luther King weekend next year, giving us an extra day on Monday for travel and rest. Stay well, and thanks to everyone who helped with this annual labor of love!

MAY 2007

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Bonsai at the Grove

BY HENRY ROBBINS

or thee past few years, Erik Wigert has been organizing the Bonsai at the Grove, a miniconvention weekend in Bokeelia, a short distance from Ft. Myers. Erik always puts on a good show, and this year was no exception. Pedro Morales from Puerto Rico was the guest artist and he did a great job. His demonstrations and workshops, for everyone who attended, were very informative. For those of you who dont know Pedro, he visited Florida a couple of years ago as part of the visiting masters tour, and he is organizing the BCI convention in Puerto Rico in July 2007.

The weather in Bokeelia cooperated this year, and as a result, there was a large turnout of people for the event. When we arrived, it was standing room only for Pedros demonstration on a Ficus. All of the demo trees were raffled off. This is a really good opportunity to pick up a nicely styled tree by a visiting artist. If you werent that lucky, Eriks whole nursery was open to the public. There was a wide selection of vendors in attendance selling everything from bonsai to salsa. After the morning demo, we were able to take a break and enjoy the traditional
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grilled burgers and hot dogs with much appreciated cold drinks, followed by a chance to tour the nursery and visit all of the vendors and check out their wares.

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At left, the progression of art, Eriks buttonwood bonsai, which became his nursery logo, and finally a design for Steves tattoo.

The afternoon continued with Pedro conducting a workshop on Ficus Green Island. The trees were large multi-trunked specimens with lots of branches. All trees were planted in Mica pots. I had the opportunity to watch Pedro work with the participants. Each participant ended up with a nicely styled Ficus. Pedro was assisted in his workshop by Toby Diaz. Toby worked with both the beginner and advanced participants, helping

them get their trees wired and ready for Pedros styling. Steve, from the Orlando club, was sporting his new tattoo, which he showed us, and now you! Notice anything about the tattoo and the buttonwood in the picture? On Sunday, Pedro conducted more demonstrations on really nice material, which were subsequently raffled off. Pedro also conducted a workshop on Limeberry, known as

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Bonsai at the Grove

Limoncillio in Puerto Rico. This citrus family native of Indonesia, Triphasia trifolia, has been introduced to the United States where it grows easily in frost-free Southern Florida, Puerto Rico, Texas and the Virgin Islands. They have compact foliage, and like all citrus, fruit and flower. Erik is already planning next years show and he is looking to have an open exhibit of bonsai

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trees, followed by a critique by a visiting master. Im sure he will have many other new and exciting

opportunities to learn and have fun at Bonsai at the Grove 2008, so dont miss it!

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Bonsai Societies of Florida, Inc. Balance Sheet

For the Year Ending December 31 2006 2005

ASSETS Checking/Savings Checking Convention Money Market Money Market Scholarship fund Visiting Masters Fund/General Certificate of Deposit Total Checking/Savings Other Current Assets 2007 Convention Expenses Convention Tree Fund Prepaid Visiting Master Travel Provision for Convention Losses Total Other Current Assets Total Assets LIABILITIES & EQUITY Liabilities Other Current Liabilities BSF 2007 Registration Income Deferred Advertising Income Total Liabilities Equity Retained Earnings Net Income Total Equity Total Liabilities & Equity 47,650.36 5,270.88 52,921.24 $70,377.24 43,481.04 4,169.32 47,650.36 $47,650.36 $15,411.00 2,045.00 17,456.00 $ 15,118.35 1,014.09 1,548.51 20,000.00 37,680.95 $70,377.24 3,000.00 0.00 1,865.24 0.00 4,865.24 $47,650.36 $ 9,615.57 4,284.25 6,618.75 4,914.79 1,446.92 5,816.01 32,696.29 $ 8,439.41 1,224.89 2,215.63 30,905.19 42,785.12

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Bonsai Societies of Florida, Inc. Statement of Income

For the Year Ending December 31 2006 2005

Ordinary Income/Expense Income Convention Income Membership Dues Scholarship Competition Magazine Income Master Travel Reimbursement Total Income Expense Convention Expenses Bonsai Magazine Publishing Administration Scholarship Program G & A Insurance Total Expense Net Ordinary Income Other Income (Expense) Interest Income Donations Other Income Sales Tax Total Other Income (Expense) Net Income 516.95 (262.84) 254.11 $ 5,270.88 526.26 350.00 2.21 878.47 $ 4,169.32 47,311.05 6,682.15 1,926.01 1,290.05 1,108.35 58,317.61 5,016.77 42,619.62 7,072.33 4,151.37 960.00 3,908.91 58,712.23 3,290.85 $48,372.61 8,509.50 3,070.69 2,581.00 800.58 63,334.38 $50,425.58 7,133.50 0.00 3,610.00 834.00 62,003.08

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1,2

Bonsai Societies of Florida, Inc. Summary of Operating Budgets1,2

General Scholarship Magazine Convention Total

For the Year Ending December 31, 2007

Revenue Visiting Master Reimbursements Membership Dues Proceeds from Auction of Trees Silent Auction Advertising Registration Fees Workshop Fees Vendor Fees Auction and Raffles Merchandise Other Income Total Revenue Operating Expenses Visiting Master Expense Insurance Scholarship Awards Magazine Mailing Magazine Printing Magazine Supplies Magazine Postage Trees Workshop & Demo Supplies Facilities Artist Costs Public Demonstrations Marketing Miscellaneous Total Operating Expenses Net Income (Loss) $ 5,800 2,000 2,060 9,860 640 1,250 1,250 2,500 $ 210 420 4,400 400 480 1,180 6,880 $(2,880) 11,600 1,500 8,050 5,850 1,000 2,000 8,180 38,180 $ 1,850 5,800 2,000 1,250 420 4,400 400 480 11,600 1,500 8,050 5,850 1,000 2,000 12,670 57,420 $ (180) $ 3,000 7,200 300 10,500 $ 2,700 10 2,710 $ 1,000 3,000 4,000 $ 9,500 13,130 5,550 10,500 1,150 200 40,030 $ 3,000 7,200 2,700 1,000 3,000 9,500 13,130 5,550 10,500 1,150 510 57,240

1 Operating Budgets have been summarized. Complete budgets are available for review upon written request. 2 Budgets are based on conservative estimates; actual results may vary.

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Jupiter Bonsai

Above, Proprietor, Allen Carver and wife Leah with two of his creations, a bonsai and his beautiful daughter, Ella!

Bonsai, Pre-Bonsai, Nursery Stock, Stands, Tools, Pots, Soil, Wire Everything for your bonsai needs! Call

5 6 1 . 6 2 8 . 6 3 9 2 for information
WHOLESALE TO THE TRADE

A proud sponsor of the BSF Cypress Celebration at the Morikami Museum in Delray Beach. See our specimen Bucida spinosas in the full day workshop with Toby Diaz.

Retail, Demonstrations and Workshops for Bonsai Clubs by Appointment Only.

visit our website: www.jupiterbonsai.com
MAY 2007
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Schleys Bonsai & Supplies

1080-A Ridgewood Avenue Holly Hill, FL 32117 (386) 295-2612

Store hours: Tuesday Saturday 10:00 am to 5:00 pm

Specializing in large trunk trees. We have over 100 Cypress trees with trunk diameters from 4 to 16 . Over 5,000 plants in stock, 500 in bonsai containers. We carry a wide variety of Japanese and Chinese pots, as well as soils and tools.

Monthly workshops conducted. SPECIAL

Bring this ad to the nursery by June 15 and you will be eligible to buy 1 tree and get 1 tree of equal or lesser value for price. DIRECTIONS: From I-95 take exit 265 (LPGA Blvd East). Head towards Holly Hill/Daytona, about 4 miles. At Ridgewood Avenue, US 1 South, take a right, Schleys bonsai is 2nd driveway approximately 20 feet on the right.

Please visit our website at www.schleysbonsai.com

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Dragon Tree Bonsai Large Specimen Trees Available

ROBERT PINDER
3663 S.W. Honey Terrace Palm City, FL 34990 (772) 418-7079 email rpinder1948@yahoo.com
Right Next to Turnpike Exit #133 in Palm City

We are proud to have supplied the large Cypress specimens for the BSF 2007 Convention workshops. Please come join us at our study group meeting held on the second Sunday of every month. Time: 101 at Dragon Tree Bonsai, Were looking forward to seeing you.

Yakimono no Kokoro Bonsai Pottery Handmade Contemporary Stoneware Pots Also Specializing In Power Wood Carving Tools
DALE COCHOY
13262 Kaufman Ave. NW G Hartville, OH 44632 TEL 330/877-9276 G FAX 330/877-1446 E-MAIL: DaleCochoy@Prodigy.net www.wildthingsbonsai.com

BONSAI STUDIO

PHOTO AND ILLUSTRATION CREDITS Cover: Jim Smith; Pages 8, 19: Mike Sullivan; Pages 6, 7, 911: Louise Leister; Page 13: Joe Samuels; Pages 12, 1416: Mary Miller; Page 20: Colin Lewis; Pages 2529: Jim Smith; Pages 3235: Carol Partelow; Pages 3639: Henry Robbins and Dorothy Schmitz.

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Bonsai by Dura-Stone
Dura-Stone Nursery was started as a wholesale nursery specializing in landscape plants, cacti and bonsai. As the demand for bonsai and prebonsai increased we decided to discontinue the landscape and cactus plants. We are now a full-service bonsai nursery specializing in tropical plants. We carry several lines of bonsai pots, tools, wire and soil. Our prebonsai are all trained for bonsai with low branches and heavy trunks. The

finished bonsai are in all sizes from mame to very large. The nursery is open to the public MondayFriday from 85 or by appointment. The nursery is open to the public the fourth Sunday of each month, weather permitting, for a free workshop. You may bring your own plants, purchase from the nursery or just come to visit. Jim Smith, Jim Van Landingham, Doug Smith or one of the other regular visitors is always willing to help you. We wholesale to bonsai dealers throughout the country and internationally, we will ship any way you choose.

Dura-Stone Nursery
304 Old Dixie S.W., Vero Beach, FL email: jamess@gate.net or visit us at: www.jimsmithbonsai.com
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H & F Import Bonsai Pots & Supplies Inc.

1380 NW 65 Ave . Suite B . Plantation, FL 33313

Andy Shi
PHONE

(954) 331-9611 CELL (954) 668-6372 FAX (954) 747 -6848 EMAIL bonsaipotsusa@yahoo.com

We wholesale all types of bonsai pots and related items. Pre-order and large discounts available. Call for information.

BSF Membership
Individuals acquire BSF membership as members of a local affiliated club. Other memberships include: Member-At-Large, Member OrganizationAt-Large, Donor Membership, or Special Life Membership. For membership information contact Carol Partelow, Membership Chair, 35 Eastwood Drive, Palm Coast, FL 32164-6157. eMail for information: gpartelow1@cfl.rr.com

Florida Bonsai Publications

A black and white printed version of the magazine is provided to members of the Bonsai Societies of Florida. It is also available to the public in full color by downloading from the BSF website: www.bonsai-bsf.com/color_cy.htm There is a screen version of the publication in full color. Be sure you have the most current version of Adobe Reader. Adobe Reader software is free and available at www.adobe.com.
MAY 2007
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Bonsai Societies of Florida

OFFI C E RS
PRESIDENT

LOUISE LEISTER
VA C A N T

mysecretbonsai@bellsouth.net

1ST VICE PRESIDENT 2ND VICE PRESIDENT

CORRESPONDING SECRETARY RECORDING SECRETARY TREASURER PAST PRESIDENT

Erik Wigert Vladimir Foursa Carol McKinney Henry Robbins Gene Callahan

wigertsbonsai@earthlink.net scorpbug@aol.com ctmckinney@aol.com bsf.treasurer@gmail.com dcal104@earthlink.net

CO MMIT TEE S

T RU S T EE S
DISTRICT 1

Lynn Fabian
elfabian@cox.net

ARCHIVES CONVENTION 2007

Glenn Partelow
gpartelow1@cfl.rr.com

Henry Robbins Henry Robbins Glenn Partelow

DISTRICT 2

Virginia Wager
jpdolls2000@aol.com

bsf.treasurer@gmail.com
CONVENTION 2008 EDUCATION EPCOT/BSF

bsf.treasurer@gmail.com
DISTRICT 3 VA C A N T

gpartelow1@cfl.rr.com

Peter Wood
woodpk@juno.com

DISTRICT 4

Narelle Robbins
narelle.robbins@gmail.com

MEMBERSHIP

Carol Partelow
gpartelow1@cfl.rr.com

DISTRICT 5

Robert Yarbrough

NOMINATION

ryarbrough@seminole-electric.com
DISTRICT 6

PUBLICATIONS

Narelle Robbins
narelle.robbins@gmail.com

SCHOLARSHIP

Vladimir Foursa scorpbug@aol.com Mike Sullivan jsulliii@aol.com Louise Leister

mysecretbonsai@bellsouth.net

DISTRICT 7

Judy Gore
judyagore@aol.com

DISTRICT 8

Larry Duke
papaduke01@aol.com

Stan Orsolek orsolek@bellsouth.net WEBSITE Henning Glatter-Gotz henning@glatter-gotz.com MORIKAMI Vladimir Foursa scorpbug@aol.com
SPEAKERS BUREAU

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List of Advertisers
Bonsai by the Monastery Bonsai Deals Dale Cochoy Dragon Tree Bonsai DuraStone Jupiter Bonsai H&F Bonsai Pots and Supplies Mechanical Coordinators Schleys Bonsai
BACK COVER PAGE 45 PAGE 45 PAGE 45 PAGE 46 PAGE 43 PAGE 47 PAGE 2425 PAGE 44

Florida Bonsai Subscription ForM

Florida Bonsai is published by the Bonsai Societies of Florida (BSF) four times a year. If you would like to subscribe to Florida Bonsai for $15 a year, please complete the following form. Name: ______________________________________________________ Street Address: _______________________________________________ City, State, Zip: ______________________________________________ Telephone Number:___________________________________________ eMail Address: _______________________________________________ Affiliation: __________________________________________________ Date: _______________________________________________________ Amount Enclosed: ____________________________________________ Make check payable to Bonsai Societies of Florida and mail to: Bonsai Societies of Florida Subscription, c/o Carol Partelow, 35 Eastwood Drive, Palm Coast, FL 32164-6157.